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Flamenco Guitar Transcriptions


Here is a summary of the lives of some of the great flamenco guitarists from the last 150 years. The list below places the artists in chronological order, and each link will lead to a brief description and partial discography. The city indicates where each artist was born or the area most closely associated with his art. Most of the data comes from the Diccionario Enciclopédico del Flamenco by Jose Blas Vega and Manuel Ríos Ruiz.

Chronological List

Juan Gandulla, "Habichuela" 186? — 1927 Cádiz
Javier Molina 1868 — 1956 Jerez
Antonio Moreno 1890 — 1937 Seville
El Hijo de Salvador      ? — ?    ?
Ramón Montoya 1879 — 1949 Madrid
Niño Pérez 1890 — 1957 Madrid
Manolo de Badajoz 1892 — 1962 Badajoz
Perico del Lunar 1894 — 1964 Madrid
Antonio Delgado 1900 — 1980 Sanlúcar (Cádiz)
Miguel Borrull 1900 — 1976 Madrid
Manuel Serrapí, "Niño Ricardo" 1904 — 1972 Seville
Paco Aguilera 1906 — 1986 Madrid
Melchor de Marchena 1907 — 1980 Marchena (Seville)
Diego del Gastor 1908 — 1973 Morón (Seville)
Agustín Castellón, "Sabicas" 1912 — 1990 Pamplona
Andrés Heredia 1924 —  Madrid
Eduardo el de la Malena 1925 — 1990 Seville
El Poeta 1927 — 2006 Seville
Manolo de Brenes 1928 —  Seville
Manuel Moreno, "Morao" 1929 —  Jerez
Antonio Arenas 1929 — 2008 Madrid
Félix de Utrera 1929 — 1998 Madrid
Juan Carmona, "Habichuela" 1933 —  Granada
Juan Moreno, "Moraíto" 1935 — 2002 Jerez
Perico del Lunar hijo 1940 —  Madrid
Parrilla de Jerez 1945 — 2009 Jerez
Diego de Morón 1947 —  Morón (Seville)
Jose Luis Postigo 1950 —  Seville
Enrique de Melchor 1951 —  Marchena (Seville)
Diego Carrasco 1954 — Jerez

Antonio Arenas

Antonio López Arenas. Ceuta 1929 — Madrid 2008. Disciple of Alberto Vélez. He worked and lived for many years in Madrid and he recorded with many singers, such as Rafael Romero, Lebrijano, Camarón, Turronero and Indio Gitano.

Antonio Delgado (Antonio de Sanlúcar)

Antonio Delgado Bernal. Cádiz 1900 — Seville 1980. Antonio was the older brother of Estéban Sanlúcar. He began in Seville in the early 1920’s accompanying the many excellent singers from that time and place in history. He toured Spain with Marchena and Pastora, and recorded with Chocolate and Luis Caballero.

Andrés Heredia

Andrés Heredia Santiago. Madrid 1924. He began professionally in 1937, and went on to accompany many great singers, such as Pastora, Vallejo, Cepero and others. He also worked in many tablaos in Madrid, and is considered to be a great professional. He has recorded with Aurelio Sellés, Manolo Vargas, Beni de Cádiz, Rafael Romero and others.

Antonio Moreno

Antonio Moreno Fernández. Córdoba 1890 — Seville 1937. He worked nearly all his life in Seville, but occasionally toured. He was considered to be a great professional, and was one of Ricardo's mentors. He recorded with Pastora, Manolo Fregenal, Niño de la Rosafina and Vallejo.

Antonio Moreno

Diego Carrasco

Diego Carrasco Fernández. Jerez de la Frontera 1954. Also known as El Tate, he often performs as a singer. He has recorded with La Piriñaca, among others.

Diego del Gastor

Diego Amaya Flores. Arriate (Málaga) 1908 — Morón de la Frontera 1973. In 1923, he moved from the town of El Gastor to Morón de la Frontera. He studied with his brother Pepe and a popular older guitarist from Morón called Pepe Naranjo, who, in turn, learned from Paco Lucena. He played mostly for private gatherings in or near his adopted town, where he became a local legend. His style of playing is quite different from that of most other guitarists and seems to be based on older forms of interpreting flamenco, although it should be pointed out that is often the sensation caused by artists who were old when they recorded, such as Juan Talega or Agujetas Viejo. In recent years, there has been renewed interest in the Morón playing style, although Diego and his toque have long been admired by many aficionados. Paco Cepero has stated that Diego was one of his influences. He recorded with Joselero, Juan Talega, Perrate, la Fernanda and Manolito de María.

Diego de Morón

Diego Torres Amaya. Morón de la Frontera 1947. Son of the great Joselero and nephew of Diego del Gastor. Despite his experience working and living abroad, he has developed an older style of guitar playing without recurring to sources outside of flamenco. His playing is perhaps the “purest” to be found today and his accompaniment is excellent. He has recorded with Joselero.

Eduardo el de La Malena

Eduardo Gutiérrez Seda. Seville 1925 — 1990. A disciple of Ricardo, he began playing in the Alameda de Hércules area of Seville, mainly at private gatherings, and was awarded by the Cátedra de Jerez. He recorded with Francisco Mairena, Juan Talega, Platero de Alcalá, La Bernarda, Perrate, Tomás Torre and Manuel de las Angustias.

Enrique de Melchor

Enrique Jiménez Ramírez. Marchena 1951. At the age of fifteen, he began playing in Manolo Caracol’s tablao Los Canasteros, then worked extensively abroad. He began to apply his efforts to concert guitar after many years of accompanying, and he is one of today’s greatest guitarists in both styles. He plays cleanly yet forcefully, and he has taken harmonies and approaches to accompaniment to new heights. He has recorded with Mairena, Menese, Pansequito, Lebrijano, Turronero, Manuel Mairena, José Mercé, Sordera, Fernanda y Bernarda, Carmen Linares, Fosforito and many others.

El Poeta

José Cala Repeto. Jerez de la Frontera 1927 — 2006. He began playing for private gatherings in Jerez. In the 1950s, he moved to Seville, where he worked in tablaos. He performed abroad in festivals and tours and recorded with many singers, especially El Chocolate. His aggressive style of playing was precise and highly dynamic. He recorded with Mairena, Chocolate and La Sallago, and also made four solo recordings.

Félix de Utrera

Félix García Vizcaíno. Canarias 1929 — 1998. Although he was born in the Canary Islands, both his parents were from Utrera, where he lived from the age of six onward. He played with a little-known follower of Maestro Patiño named Capinetti. He did practically everything a guitarist could do over his long career. He worked in many establishments, both in Spain and abroad, and was the featured guitarist on the famous Magna anthology. He worked as the first guitarist in the Madrid tablao Corral de la Morería for thirty years and was well-known for his wit. He is considered to be a follower of Ricardo. He recorded with nearly all singers in the 1960s and 1970s.

El Hijo de Salvador

Not much seems to be known about this guitarist, other than the fact that he accompanied Tenazas de Morón and Manuel Torre on the promotional recordings made in the wake of the 1922 Granada singing contest (Concurso de Cante Jondo). Whoever he was, his playing was highly developed and quite unusual for his time.

Juan Carmona “Habichuela”

Juan Carmona Carmona. Granada 1933. He began as a dancer at an early age along with Mario Maya, but soon took up the guitar, learning from his father, Tío José Habichuela, and from Juan Hidalgo López, “El Ovejilla.” In 1956 he began to work in Madrid in tablaos and recording sessions, and in the opinion of many he has since become the best accompanist of singing. His playing has been awarded on many occasions, he has toured and recorded extensively, and he is in such demand that he has had to come out of retirement on several occasions. He has recorded with Perrate, Chocolate, José Tomasa, Naranjito, Pansequito, Carmen Linares, Fosforito and many others.

Juan Gandulla

Juan Gandulla “Habichuela”

Juan Gandulla Gómez. Cádiz 186? — Madrid 1927. Disciple of Patiño. He began his career performing alternately with his mentor and he became famous in the cafés cantantes and theaters of his day. He accompanied Chacón on the singer's first recordings, and in 1902 he moved to Madrid where he performed for many years in venues and on tours. His playing involves heavy use of the thumb, strumming across chords and picking out very fast single-note lines, but arpeggios can also be heard in his recordings with Chacón, Torre, La Serrana and other singers.

Javier Molina

Javier Molina Cundí. Jerez de la Frontera 1868 — 1956. He began at the age of eight, accompanying a blind violinist in his town, and, by the age of twelve, he was teaching. He went on to perform at private gatherings with his brother, who was a dancer. After working in a café cantante in Jerez, he left this city in 1885 with his brother and a young singer named Antonio Chacón on a tour of towns in the surrounding provinces. He continued to work in tablaos all over the provinces of Cádiz, Seville, Extremadura and Madrid, where he accompanied nearly all the great singers and dancers of his time. He also worked with the legendary guitarists Maestro Patiño and Paco Lucena, and influenced many others such as Diego del Gastor and Ricardo. Following the Civil War, he taught guitar in Jerez (the Morao brothers studied with him) and performed for private gatherings and in venues. He occasionally toured Spain with dancers and singers, and he also played classical guitar. In his solo performances, he would combine flamenco, classical and even his own renditions of popular songs. The most outstanding characteristics of his playing seem to be his advanced left-hand fingering and the use of open strings. Although he lived well into the 20th century, he only recorded two soleás and two siguiriyas with Manuel Torre. His playing sounds outdated today, much like Ramón Montoya prior to the late 1920s, but his unusual left-hand figures are still interesting. Click here to read an interview with him.

Juan Moreno “Moraíto”

Juan Moreno Jiménez. Jerez de la Frontera 1935 — 2002. He studied with Javier Molina and worked in nearly all facets of accompaniment: in fiestas, in tablaos, touring abroad, playing festivals and recording with some of the great singers of the 20th century. His playing was steeped in Jerez tradition. Juan was the brother of Manuel Morao and the father of today’s Moraíto. He recorded with Mairena, La Piriñaca and others.

Ramón Montoya

Ramón Montoya Salazar. Madrid 1879 — 1949. He supposedly received classes from Maestro Malagueño and Miguel Borrull, and he stated that he was influenced by Javier Molina. In 1893, he began professionally as an accompanist in the café cantantes of Madrid. His talent and fame grew quickly, and he accompanied Antonio Chacón between 1912 and 1926. By the late 1920s, his playing was very well developed, even by today’s high standards. Nearly all guitarists since that time have been greatly influenced by his playing. He toured Europe and America between 1936 and 1938 performing as a soloist in classical-music venues, and he was greatly admired by flamenco and classical guitarists. Following the Civil War, he recorded with many artists, particularly with Pepe Marchena. It is said that he was an admirer of the guitar playing of Miguel Llobet, a student of Tárrega. He recorded with nearly all the great singers from the first half of the 20th century, including Juan Breva, Pastora, Aurelio, Chacón, Cepero, Vallejo and Mojama. Click here to read an interview with him.

Manolo de Badajoz

Manuel Álvarez Soruve. Badajoz 1892 — Madrid 1962. Disciple of Javier Molina and Ramón Montoya. He accompanied many of the great singers of the 20th century and recorded extensively. Guitarists in his family included his brothers Pepe and Ernesto and his son Justo. Manolo was a follower of Montoya and can be seen in photos using the same right-hand position as Montoya (over the sound hole). His playing was rhythmically refined and his thumb was awesome. He recorded with El Gloria, Caracol, Pastora, Cepero and many more.

Miguel Borrull hijo

Miguel Borrull Jiménez. Madrid 1900 — Barcelona 1976. His father, also named Miguel Borrull, was a flamenco guitarist with knowledge of classical guitar. He began professionally with his father in a café cantante in Barcelona and worked in others in Madrid, as well as in theaters in Spain and abroad. He recorded with many singers during the first half of the 20th century, including Torre and Vallejo. Like Luis Molina and Sabicas, his playing relied heavily on picado.

Manolo de Brenes

Manuel Delgado Lara. Brenes (Seville) 1928. He began as a singer but soon took up the guitar professionally in the Alameda de Hércules area of Seville. Born just a year apart, he and Antonio Arenas play similar ideas. He has recorded with Chocolate, Beni de Cádiz, Diego Clavel and Menese.

Melchor de Marchena

Melchor Jiménez Torres. Marchena 1907 — Madrid 1980. He began accompanying private gatherings in Seville during the early 1930s. He toured Spain and America in the 1940s and worked until 1970 as the main guitarist in the Madrid tablao Los Canasteros. In 1966, he was given the most prestigious flamenco award for guitarists by the Cátedra de Jerez. Close examination of his playing reveals highly developed technique serving outstanding musicianship. He was perhaps the greatest accompanist of all time, and he developed a tasteful style that offered unparalleled support for the singer. He loved the guitar like very few people and played with absolute commitment. He recorded with many singers, including Pepe Torre, Tomás, Pastora, Talega, Antonio and Manuel Mairena, Caracol, Chocolate, Menese, Fernanda and Bernarda, Pepe Culata and Pericón.

Manuel Moreno “Morao”

Manuel Moreno Jiménez. Jerez de la Frontera 1929. Like his brother Juan, he studied with Javier Molina and has dedicated his life to flamenco and the guitar. He worked for many years accompanying the dancing of Antonio (with Antonio Mairena) and the singing of Terremoto, and has also worked in the promotion of flamenco activities in Jerez and festivals throughout Andalusia. His playing is full of dynamics, starts and stops, and he is one of only three or four players to have developed the thumb-and-index alzapúa technique to great effect, along the lines of Melchor de Marchena. He has recorded with Terremoto, La Paquera, Perla de Cádiz, Juan Talega and Antonio Mairena.

Niño Pérez

Antonio Pérez hijo. Seville 1890 — Madrid 1957. His father, also named Antonio Pérez, was known as Maestro Pérez, an excellent accompanist of singing and especially dancing, and a contemporary of Maestro Patiño. His son, known as Niño Pérez, began in the 1920s in the Seville venue El Pasaje del Duque, playing for private gatherings of artists and enthusiasts. He worked in several tablaos in Madrid until his death. His playing made use of highly rhythmic slurs and a lively air. He recorded with Vallejo.

Parrilla de Jerez

Manuel Fernández Molina. Jerez de la Frontera 1945 — 2009. Disciple of Rafael del Águila and member of a large flamenco family. He worked in many tablaos and recorded accompanying many artists. His solo recordings and academic work are of note. Like Diego de Morón and Perico Lunar, he developed his playing within tradition. He recorded with Borrico, Agujetas, Piriñaca, La Paquera, Menese, Terremoto and others.

Paco Aguilera

Barcelona 1906 — 1986. He began working in Barcelona and moved to Madrid during the Civil War, where he worked for many years in private gatherings and tablaos. His style is well suited for beginning players to study. He recorded with Mairena, Talega, Caracol, Fernanda and Bernarda and others.

Perico el del Lunar

Pedro del Valle Pichardo. Jerez de la Frontera 1894 — Madrid 1964. He started playing in Jerez but moved to Madrid in 1920 where he worked as the main guitarist in the colmao Villa Rosa. He accompanied many great figures of his time, particularly Chacón, recording with him in 1928. In 1954, he directed the first recorded flamenco anthology, considered to be of prime importance in the revival of flamenco following its decline in the first half of the 20th century. That same year, he began to work in the Madrid tablao Zambra as the main guitarist, occupying this position until his death. He accompanied nearly all the great singers of the 20th century and is remembered for his original and sensitive style of playing and his knowledgeable accompaniment. He recorded with Chacón, Antonio Chaqueta, Rafael Romero, Pericón and many others.

Perico el del Lunar hijo

Pedro del Valle Castro. Madrid 1940. He began performing with his father in the Madrid tablao Zambra and has accompanied many great singers. His playing makes use of an older, more aggressive right-hand approach to playing than that used in modern styles. Like Diego de Morón and Parrilla de Jerez, he has developed his style within tradition. His excellent accompaniment can be heard in recordings with Rafael Romero, Juan Varea and Carmen Linares.

José Luis Postigo

José Luis Postigo Guerra. Seville 1950. He began as a dancer and quickly changed to the guitar. He has won awards, toured abroad and recorded extensively, and often performs in festivals and peñas. He plays in a driving, highly rhythmic style reminiscent of Melchor and Juan Maya “Marote.” He has recorded with Antonio el Arenero, José Mercé and Fernanda and Bernarda.

Niño Ricardo

Manuel Serrapí Sánchez. Seville 1904 — 1974. Disciple of his father and Antonio Moreno. He began professionally in 1917 at the age of thirteen and played with Antonio Moreno. In 1918, Javier Molina hired him to play in a tablao, and for the next ten years he played in different venues and toured at home and abroad. In the mid-1920s he began recording and continued with this activity for the next four decades. In 1945, he underwent a throat operation which left him with a deep raspy voice that is clearly discernible on recordings in which he hummed along with his playing. During the 1940s, he also performed in countless tours with popular artists such as Juanito Valderrama and Antonio Molina, and even performed in concert with Sabicas in Mexico City in 1949. His life coincided with the popularity of the fandango, a style at which Ricardo was perhaps the greatest of all. He influenced generations of guitarists for decades, making a deep impression on modern players like Paco de Lucía, Enrique de Melchor, Serranito and many others who saw in his playing the forging of the next link in the evolution of the flamenco guitar. His falsetas are immediately recognizable and his creative genius is well illustrated in his brilliant left-hand reworking of chords. But his right hand was also formidable, unique in its constant manipulation of the strings and insistent counterpoint. His fingernails grew in a peculiar upward curve, and this is surely responsible for part of his unique tone. His recorded accompaniment of Mairena in 1966 and 1967 is superb. He recorded with many singers, including Pastora, Tomás, Pepe Pinto, Gloria, Vallejo, El Carbonerillo, Mazaco, Antonio and Manuel Mairena, Fernanda y Bernarda, Caracol and Talega.


Agustín Castellón Campos. Pamplona 1912 — New York 1990. He was reportedly self-taught, and his first recital took place at the age of seven. Three years later, he worked in Madrid accompanying a famous singer of popular songs and enjoyed great success. He toured Spain extensively until the Civil War, at which time he moved to Latin America where he toured until 1955. For the last five years of that period, he lived and performed in Mexico, and from there he moved to New York, where he established himself as a world-renowned soloist and prolific recording artist. His recordings from that period were not initially available in Spain, but, upon their arrival, they influenced an entire generation of guitarists. In this sense, he and Ricardo can be considered the two inheritors of the work of Ramón Montoya and also the two sources of inspiration for modern guitarists. Spanish guitarists were stunned upon hearing Sabicas’ recordings in the 1960s, and he was soon invited to return to Spain to accept an award in 1967. Just as Ricardo became influential toward the end of Montoya’s life, so did Sabicas toward the end of Ricardo’s. He took levels of technique to unimagined heights, and developed the ideas of Ramón Montoya, Manolo de Huelva and, of course, his own compositions. Following his first visit to Spain, he returned regularly and received numerous awards and great acclaim. It can be said that he was the greatest solo flamenco guitar player of all time, a title perhaps only disputed by Montoya, taking into account the circumstances of his time.

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